A century ago, in Western Europe and the United States, advertising developed at a rapid pace, while in the USSR it was just in its infancy. One of the first and most famous "copywriters" of the 1920s was Vladimir Mayakovsky- the author of not only wonderful poems and plays, but also brilliant advertising posters. His works have become classics of Soviet advertising art and a significant milestone in the history of 20th century posters.
In the USSR, there was no urgent economic need for advertising - a monopoly state enterprises did not intend to produce goods competition. Soviet advertising differed significantly from the Western one - its main task was agitation and propaganda. It was necessary to convince everyone that Soviet goods were the best. And there are no others for this very reason - why else something when there is the best?
V. Mayakovsky was the author of political, commercial and social advertising. In 1919-1921, during the years of the Civil War and military intervention, he worked at the ROSTA Windows of Satire, the poster department of the Russian Telegraph Agency. The main objective of the satirical posters was to ridicule and destroy the enemies of the young republic and support "Soviet power plus the electrification of the whole country." The first posters were created by hand, then - with the help of stencils.
Since 1923, in collaboration with the avant-garde artist A. Rodchenko, Mayakovsky began to work on commercial advertising. The creative alliance "Advertising Designer Mayakovsky-Rodchenko" creates advertisements for GUM, Rezinotrest, Mosselprom, State Publishing House, Tea Department. The texts of the advertising posters were as concise and catchy as possible, easy to remember and extremely simple – and what else is needed for effective advertising?
The slogan "Nowhere but in Mosselprom" has become a classic, which has entered the national circulation. The author replied to all claims: “Despite the poetic hooting, I consider “Nowhere but in Mosselprom” poetry of the highest qualification.” And if questions arise about the aesthetic value of such poems, then their marketing effectiveness cannot be doubted.
V. Mayakovsky well understood the economic necessity of advertising, back in 1923 he wrote: “Usually they think that only rubbish should be advertised - a good thing and so it goes. This is the most wrong opinion. Advertising is the name of the thing. As a good artist creates a name for himself, so he creates a name and a thing for himself. Advertising should endlessly remind of every, even wonderful thing.
Most people remember Vladimir Mayakovsky - as a loud-voiced poet, whose poems must be read in full voice. His rhymes are rough, cut, juicy and concrete.
A lot has been said about Mayakovsky's life itself. Recently, especially in biographical magazines, more and more details about his relationship with Lilya Brik appear, the love for which dominated the poet for many years, until his unexpected death.
Known are the features of Mayakovsky's behavior. So, they say that the poet always carried a bar of soap in his jacket pocket and preferred not to shake hands with anyone. If this happened, he tried to wash his hands as quickly as possible, fearing infections: his father died of blood poisoning, and this left a huge imprint on Mayakovsky's life.
You can recall his participation in rallies. Crowds of people went to listen to Mayakovsky the agitator... Quite a few lines have been written about Mayakovsky in America.
Vladimir Mayakovsky is a multifaceted figure. He is a man - a rock, although, as it turned out, with a tender, vulnerable heart.
In this article we want to remember him not as a poet, but as an illustrator.
In September 1918, a government decree "on the merger of the Petrograd Telegraph Agency and the Press Bureau under the All-Russian Central Executive Committee" was adopted. The new formation was called the Russian Telegraph Agency (ROSTA) under the All-Russian Central Executive Committee. And already in March 1919, Mayakovsky began his collaboration with him, acting as the author and artist of the satirical “Windows of GROWTH”.
We present to your attention the most interesting of them.
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The procedure and terms for processing documents and performing work on connecting gas. Provided that there is a gas pipeline near your house. ...
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New clip Queen with vocals by Freddie Mercury on the song All Dead, All Dead from the album News of the world. ...
New clip of Queen with vocals by Freddie Mercury
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"Windows of satire ROSTA" - a series of posters created in 1919-1921 by Soviet poets and artists who worked in the system of the Russian Telegraph Agency (ROSTA). “Windows of ROSTA” is a specific form of mass propaganda art that arose during the Civil War and the intervention of 1918-1920.Characteristic
Satirical posters, made in a sharp and accessible manner, equipped with laconic poetic texts, exposed the opponents of the young republic of Soviets. "Windows of ROSTA" were devoted to topical events, were illustrations for telegrams transmitted by the agency to newspapers.
In his work Terrible Laughter, Mayakovsky wrote about them this way: “This is a protocol record of the largest three years of revolutionary struggle, conveyed by spots of colors and the ringing of slogans. (...) These are telegraphic news instantly transferred to a poster, these are decrees immediately published in ditties, this is a new form, derived directly from life, these are the posters that the Red Army soldiers looked at before the battle, going on the attack, going not with prayer, but with chant ditties.
With the exception of the first hand-drawn ones, the posters were made and reproduced using a stencil to 150 or more copies, and then displayed in windows in the capital and other cities - usually in empty grocery stores. In his memoirs V.B. Shklovsky argued that:
"Windows of ROSTA" correctly existed and ended when the stores reappeared.
- "AT. Mayakovsky in the memoirs of his contemporaries
Windows of satire appeared in the fall of 1919, the first poster with the text Gramen and drawings by Cheremnykh was exhibited in Moscow in early September, by 1920 the Windows of ROSTA reached Baku, Saratov, Kharkov, Odessa, Rostov-on-Don, they went out until 1921 . The topics of the posters were the fight against Wrangel and typhoid lice, starving people, etc.
In "Windows of ROSTA" the traditions of the popular print were actively used. The drawing technique in the "Windows of ROSTA" was distinguished by the accentuated simplicity and conciseness of the visual means used (coloring in 2-3 colors, expressiveness of silhouettes).
“Their specificity was in the immediate reaction to the most topical questions and facts. The texts of the "Windows of GROWTH" were distinguished by the simplicity and accuracy of the characteristics coming from the traditions of folk popular prints and ditties. In these texts, Mayakovsky's talent as a publicist found its vivid expression. (…) ROSTA posters, as a rule, have many plots. They developed and typified a certain spirit of characters passing from poster to poster: a worker, a Red Army soldier, a peasant, a capitalist, a priest, a kulak.
^ Opposing creative organizations
The windows of ROSTA, according to historian Vladlen Sirotkin, were opposed by OSVAG:
From the height of the past years, reading the memoirs of the participants in the Civil War from the "red" and "white" sides, you begin to understand that both "agitprop" - in Moscow and in Rostov-on-Don - were a mirror image of each other, only with reverse signs. In Moscow, there were “Windows of ROSTA” with poems by Mayakovsky and Demyan Bedny, in Rostov - “Windows of OSVAG” with verses by Nazhivin or “White Demyan” by rhymer A. Gridin. There, a Red Army soldier pierces a bourgeois and a white general with a bayonet;
Vladlen Sirotkin "Foreign Klondikes of Russia"
Painters
The first "Window of GROWTH" was performed in October 1919 by M. M. Cheremnykh. Subsequently, he was joined by V. V. Mayakovsky, who created both drawings and signatures, as well as D. S. Moor, I. A. Malyutin, A. M. Nurenberg, M. D. Volpin, P. P. Sokolov- Skalia, B. N. Timofeev and others. Similar “windows” were also produced in Petrograd (L. G. Brodaty, V. V. Lebedev, A. A. Radakov and others), in Ukraine (B. E. Efimov and etc.), in Saratov, Baku and other cities.
Kazimir Malevich, Aristarkh Lentulov, Ilya Mashkov and the Kukryniksy also took part in the creation of the ROSTA Windows. "Windows of ROSTA" were essential for the formation of the Soviet visual arts.
^ Interesting Facts
Mayakovsky's personal exhibition "20 Years of Work", which was guided by Mayakovsky himself, and which was based on the ROSTA Windows of Satire, was not visited by either representatives of the creative intelligentsia or leaders.
Mayakovsky, Vladimir Vladimirovich (1893-1930)
^ ASK FOR WORDS...
(Mayakovsky's preface to the collection "Terrible Laughter. Windows of ROSTA". Compiled in 1929, published in 1932)
This is not only poetry.
These illustrations are not for graphic decoration.
This is a record of the most difficult three years of revolutionary struggle, conveyed by splashes of paint and the ringing of slogans.
This is my part of a huge agitation work - windows of ROSTA satire.
Let the lyricists remember the poems they fell in love with. We are glad to recall the lines under which Denikin fled from Orel.
Fans of high-tariff retrospective descriptions of the romance of the civil war in the "constructivist" style would do well to learn from the actual material of the war years, from the actual verbal work of this time.
There are such new Russian ancient Greeks who all know how to sugarcoat and aestheticize.
Here is V. Polonsky in a book about a revolutionary poster, tearing a piece out of the middle, stumbling upon the agitation of ROSTA from the time of the battles with the lords, an agitation, the whole meaning of which to prove:
So feed the red army,
bring bread without howling,
not to lose bread
along with the head
this same Polonsky rips out a random scrap from an agitation paper and writes a "fragment". Don't you want?!
The historian of literature can act in the same way, citing the word “unite” with the caption “fragment”, so that everyone guesses and rejoices that this is a “fragment” of the slogan “Proletarians of all countries, unite!”
Polonsky not only does not try to understand and systematize the purpose and direction of poster strikes, but simply soars with inspiration above the lowland of the propaganda text. Now, with a decade of Rostov's work, the Tretyakov Gallery, newspapers, magazines curiously and enthusiastically pick up, glue and look at scraps of hand-painted sheets, these ancestors of all today's many thousands of satirical magazines. The first windows of satire were made in one copy and hung out in shop windows and windows of empty shops immediately surrounded by the people, further ones were multiplied by stencil, sometimes up to one hundred - one hundred and fifty copies, dispersed through the windows of agitation centers.
In total, about nine hundred names for Moscow alone. Leningrad, Baku, Saratov began to wind up their windows.
The range of topics is huge:
Agitation for the Comintern and for picking mushrooms for the starving, the fight against Wrangel and typhoid lice, posters about the preservation of old newspapers and electrification I rummaged in the Tretyakov Gallery, in the Museum of the Revolution, in the archives of the participants. Hardly more than a hundred whole sheets of the entire mass of windows now remain. We worked without a focus on history and fame. Yesterday's poster ruthlessly trampled in dozens of crossings. We must save and print the rest before it's too late. Only an album of photographs accidentally found at M. Cheremny's made it possible to find texts and photographs from the disappeared.
My work at ROSTA started like this: I saw the first two-meter-high poster on the corner of Kuznetsky and Petrovka, where Mosselprom is now. Immediately turned to the head of the ROSTOY, comrade. Kerzhentsev, who brought me together with M. M. Cheremnykh, one of the best workers in this business.
We did the second window together. Then came Malyutin, and then artists: Lavinskiy, Levin, Brik, Moor, Nurenberg and others, stencillers: Shiman, Mikhailov, Kushner and many more, photographer Nikitin. At first, Comrade worked on the text. Gramen, then almost all the topics and texts are mine; O. Brik, R. Wright, Volpin also worked on the text. In two cases marked with asterisks in the book, I do not clearly remember my authorship of the text. Now, looking through the photo album, I found about four hundred of my windows alone. There are from four to twelve individual posters in the window, which means that on average there are at least three thousand two hundred of these same posters.
Signatures - the second collected works. (This book contains only a small part.)
How could so much be done?
I remember there were no holidays. They worked in a huge, unheated, freezing cold (later - a potbelly stove that eats away the eyes with smoke) ROSTA workshop. Arriving home, he painted again, and in case of special urgency, he put a log under his head instead of a pillow under his head, with the expectation that you would not particularly fall asleep on the log and, having slept exactly as much as necessary, jump up to work again.
Over time, we have refined our hand to such an extent that we could draw a complex working silhouette from the heel with our eyes closed, and the line, having outlined it, merged with the line.
According to the clock of Sukharevka, visible from the window, we suddenly rushed to the paper in a swarm, competed in the speed of the sketch, arousing the surprise of John Reed, Golicher and other visiting foreign comrades and travelers who were examining us. Machine speed was required of us: it used to be that telegraph news of a front-line victory in forty minutes - an hour was already hanging along the street like a colorful poster.
“Colorful” - it was said too chic, there were almost no colors, they took any, slightly stirring it on saliva. The nature of the work demanded that pace, this speed, and the number of new fighters depended on this speed in posting the news of danger and victory. And this part of the general agitation raised to the front.
Without telegraph, machine-gun speed - this work could not be. But we did it not only with the full force and seriousness of our skills, but also revolutionized taste, raised the qualifications of poster art, the art of agitation. If there is a thing called “revolutionary style” in the drawing, it is the style of our windows.
It is no coincidence that many of these works, designed for a day, having passed the Tretyakov Gallery, exhibitions in Berlin and Paris, ten years later became things of real so-called art.
I cite in this book only an insignificant part of the material, only what has been preserved in the days. Except for the two cited earlier from memory, and now in full - the texts of the ABC and Bagels - everything else has not been published and will not be published, except for this book.
For me, this book is of great literary significance, a work that has cleansed our language of poetic husks on topics that do not allow verbosity.
This is not so much a reading as a guide for the times when you have to shout again:
You can't take us with your bare hand!
Denikin's day is numbered.
Red Army - red hedgehog -
our true defense.
You can't take us with your bare hand!
Kolchak's hour is numbered.
Red Army - red hedgehog -
our best defense.
You can't take us with your bare hand!
Comrades, all for weapons!
Red Army - red hedgehog -
the iron strength of fellowship.
^ WINDOWS OF THE SATIRE OF GROWTH
(Article for the opening of the exhibition in the Tretyakov Gallery)
Now in the Tretyakov Gallery in three rooms there is an exhibition of lonely, scattered, carefully assembled windows of ROSTA satire. In 19-21, thousands of these windows both delighted and an eyesore from the many windows and shop windows of empty shops, club walls, station propaganda centers.
Most of these windows lost our carelessness.
In years to come, scientists will pore over these windows, protecting the filthy paper from time to time.
It is necessary and necessary to protect these windows.
As -
this is a colorful history of the three most combat years of the Union -
as -
these are the ancestors of all Soviet satirical magazines, the ancestors of the most difficult, paperless, machineless, manual time.
The first windows are unique, they were drawn in one copy, the further ones were multiplied in tens and hundreds of copies with a stencil. The main posters: Cheremnykh, Malyutin, I.
Slogans and texts are almost all mine. Here are some of my unpublished windows and texts.
In the near future, the book Windows of Satire will be published in Giza.
4. Russian Telegraph Agency in the 1920s. Mayakovsky's activities in the Windows of ROSTA
Russian Telegraph Agency (ROSTA) - central information body Soviet state (RSFSR, from 1924 USSR) in 1918-1925.
The duties of ROSTA included the collection and dissemination of political, economic, cultural and other information in the country and abroad. ROSTA had branches, agents and correspondents throughout the country and abroad; entered into agreements with the state, societies. org-tions and individuals. The work of ROSTA was led by a council appointed by the All-Russian Central Executive Committee. In addition to disseminating information through telegraph channels, ROSTA printed its own publications in 1918-20: the newspaper AgitROSTA, the magazines Krasnaya Zvezda and Krasny Journalist, which were published once or twice a week, as well as large-circulation wall newspapers.
Another area of activity of ROSTA was visual agitation, which was mainly carried out through the distribution of satirical posters, the so-called "ROSTA Windows"). They were pasted up at stations, squares, in shop windows, in institutions, etc., and they were also supplied with propaganda trains and steamships. One of the authors of both poems and drawings of the Windows of GROWTH was V. V. Mayakovsky. On December 12, 1920, it was subordinated to the Glavpolitprosvet.
After the creation of the Telegraph Agency of the Soviet Union (TASS) in 1925, ROSTA functioned as the news agency of the RSFSR. In March 1935, it was liquidated, and its functions were transferred to TASS.
Windows of ROSTA, more precisely - "Windows of satire ROSTA" - posters created in 1919-1921 by Soviet artists and poets who worked in the system of the Russian Telegraph Agency (ROSTA). “Windows of GROWTH” is an original type of mass propaganda art that arose during the Civil War and military intervention of 1918-20. Satirical posters, made in a sharp and accessible manner, equipped with laconic poetic texts, exposed the opponents of the young republic of Soviets. "Windows of ROSTA" were devoted to topical events, were illustrations for telegrams transmitted by the agency to newspapers.
In his work Terrible Laughter, Mayakovsky wrote about them this way: “This is a protocol record of the largest three years of revolutionary struggle, conveyed by spots of colors and the ringing of slogans. These are telegraphic news instantly transferred to a poster, these are decrees, immediately published in ditties, this is a new form, derived directly from life, these are the posters that the Red Army soldiers, going on the attack, were watching before the battle, going not with a prayer, but with a chant of ditties " .
With the exception of the first hand-drawn ones, the posters were made and reproduced using a stencil to 150 or more copies, and then displayed in windows in the capital and other cities - usually in empty grocery stores.
The first "Windows of GROWTH" was performed in October 1919 by M.M. Cheremnykh. Then V.V. Mayakovsky joined him, creating bright, well-aimed drawings and signatures. Similar "windows" were also produced in Petrograd, Ukraine, Baku, Saratov and other cities. The topics of the posters were the fight against Wrangel and typhoid lice, starving people, etc.
“Their specificity was in the immediate reaction to the most topical questions and facts. The texts of the "Windows of GROWTH" were distinguished by the simplicity and accuracy of the characteristics coming from the traditions of folk popular prints and ditties. In these texts, Mayakovsky's talent as a publicist found its vivid expression. ROSTA posters, as a rule, have many plots. They developed and typified a certain spirit of characters passing from poster to poster: a worker, a Red Army soldier, a peasant, a capitalist, a priest, a kulak.
The young Vladimir Mayakovsky entered poetry under the banner of the Futurists. The Futurists entered poetry noisily, with calculated scandalousness. Mayakovsky persistently searches for new forms, new genres, new themes in revolutionary reality. For him, work on ROSTA propaganda posters becomes not only his form of participation in the revolutionary struggle, but also a laboratory in which he, in his own words, freed the verse "from poetic husks on topics not
allowing for verbosity."
Example: If the call of the party week
millions will come from factories and arable land -
the worker will quickly prove in practice
that the communists are not afraid of anyone.
Growth No. 5
"Windows" was conceived at first as enlarged pages of a satirical magazine, hung out in the windows of empty shops. It was Mayakovsky who gradually developed the type of propaganda-oriented "Window", where all the drawings are subject to one theme, consistently revealed in the poetic text.
The exact number of "Windows" created by the poet is not taken into account - the work of text writers and ROSTA artists was anonymous. In total, about 1500 posters were produced (from October 1919 to February 1922). It is believed that Mayakovsky wrote about 80% of the tests and drew about 400 posters.
Together with Mayakovsky, Mikhail Cheremnykh, Ivan Malyutin, Amshey Nurenberg, Kazimir Malevich, Aristarkh Lentulov, Ilya Mashkov, Kukryniksy and others worked on "Windows".
“My work at ROSTA began like this: I saw the first two-meter-high poster on the corner of Kuznetsky and Petrovka, where Mosselprom is now. Immediately turned to the head of the ROSTOY, comrade. Kerzhentsev, who introduced me to M. M. Cheremnykh, one of the best workers in this business.
At first, Comrade worked on the text. Gramen, then almost all the topics and texts are mine; O. Brik, R. Wright, Volpin also worked on the text...
I remember there were no holidays. They worked in a huge, unheated, freezing cold (later - a potbelly stove that eats away the eyes with smoke) ROSTA workshop.
Arriving home, he painted again, and in case of special urgency, he put a log under his head instead of a pillow under his head, with the expectation that you would not fall asleep especially on the log and, having slept exactly as much as necessary, you would jump up to work again ...
Machine speed was required of us: it used to be that telegraph news of a front-line victory in 40 minutes - an hour was already hanging along the street like a colorful poster.
“Colorful” - it was said too chic, there were almost no colors, they took any, slightly stirring it on saliva. The nature of the work required this pace, this speed, and the number of new fighters depended on this speed in posting news of danger or victory ...
Without telegraph, machine-gun speed - this work could not be. But we did it not only with the full force and seriousness of our skills, but also revolutionized the taste, raised the qualifications of poster art, the art of agitation.
V.V. Mayakovsky
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